Datasets:

Ibrahim-Alam

/

cornel_sentiment

like 0

ong's promising debut is a warm and well-told tale of one recent chinese immigrant's experiences in new york city .

while this film is not in the least surprising , it is still ultimately very satisfying . think of it as a sort of comfort food for the mind .

jacquot has filmed the opera exactly as the libretto directs , ideally capturing the opera's drama and lyricism .

the film's sense of imagery gives it a terrible strength , but it's propelled by the acting .

benigni presents himself as the boy puppet pinocchio , complete with receding hairline , weathered countenance and american breckin meyer's ridiculously inappropriate valley boy voice .

even if the naipaul original remains the real masterpiece , the movie possesses its own languorous charm .

deliciously slow .

`hey arnold ! ' has some visual wit . . . but little imagination elsewhere .

while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy .

apparently , romantic comedy with a fresh point of view just doesn't figure in the present hollywood program .

a stylish cast and some clever scripting solutions help chicago make the transition from stage to screen with considerable appeal intact .

sam mendes has become valedictorian at the school for soft landings and easy ways out .

gambling and throwing a basketball game for money isn't a new plot -- in fact toback himself used it in black and white . but toback's deranged immediacy makes it seem fresh again .

rubbo runs through a remarkable amount of material in the film's short 90 minutes .

tennessee williams by way of oprah's book club .

light , silly , photographed with colour and depth , and rather a good time .

such a wildly uneven hit-and-miss enterprise , you can't help suspecting that it was improvised on a day-to-day basis during production .

the irwins emerge unscathed , but the fictional footage is unconvincing and criminally badly acted .

thankfully , the film , which skirts that rapidly deteriorating line between fantasy and reality . . . takes a tongue-in-cheek attitude even as it pushes the croc hunter agenda .

a spooky yarn of demonic doings on the high seas that works better the less the brain is engaged .

a film that suffers because of its many excesses .

thanks to haynes' absolute control of the film's mood , and buoyed by three terrific performances , far from heaven actually pulls off this stylistic juggling act .

hailed as a clever exercise in neo-hitchcockianism , this clever and very satisfying picture is more accurately chabrolian .

e . t . works because its flabbergasting principals , 14-year-old robert macnaughton , 6-year-old drew barrymore and 10-year-old henry thomas , convince us of the existence of the wise , wizened visitor from a faraway planet .

parris' performance is credible and remarkably mature .

an old-fashioned but emotionally stirring adventure tale of the kind they rarely make anymore .

colorful and deceptively buoyant until it suddenly pulls the rug out from under you , burkinabe filmmaker dani kouyate's reworking of a folk story whose roots go back to 7th-century oral traditions is also a pointed political allegory .

it strikes hardest when it reminds you how pertinent its dynamics remain . fifty years after the fact , the world's political situation seems little different , and [director phillip] noyce brings out the allegory with remarkable skill .

merchant effectively translates naipaul's lively mix of characters from the page to screen .

a gem of a movie .

jam-packed with literally bruising jokes . every five minutes or so , someone gets clocked .

a boring masquerade ball where normally good actors , even kingsley , are made to look bad .

gloriously straight from the vagina .

in the affable maid in manhattan , jennifer lopez's most aggressive and most sincere attempt to take movies by storm , the diva shrewdly surrounds herself with a company of strictly a-list players .

apparently kissing leads to suicide attempts and tragic deaths . marisa tomei is good , but just a kiss is just a mess .

a beautiful and haunting examination of the stories we tell ourselves to make sense of the mundane horrors of the world .

like leon , it's frustrating and still oddly likable .

there is so much plodding sensitivity .

a smart , sassy and exceptionally charming romantic comedy .

a flick about our infantilized culture that isn't entirely infantile .

" what really happened ? " is a question for philosophers , not filmmakers ; all the filmmakers need to do is engage an audience .

shadyac shoots his film like an m . night shyamalan movie , and he frequently maintains the same snail's pace ; he just forgot to add any genuine tension .

the format gets used best . . . to capture the dizzying heights achieved by motocross and bmx riders , whose balletic hotdogging occasionally ends in bone-crushing screwups .

sheridan . . . smoothes over sources of conflict that could have lent the film a bit more depth .

meandering , sub-aquatic mess : it's so bad it's good , but only if you slide in on a freebie .

it is ok for a movie to be something of a sitcom apparatus , if the lines work , the humor has point and the actors are humanly engaged .

trying to figure out the rules of the country bear universe -- when are bears bears and when are they like humans , only hairier -- would tax einstein's brain .

directed by kevin bray , whose crisp framing , edgy camera work , and wholesale ineptitude with acting , tone and pace very obviously mark him as a video helmer making his feature debut .

methodical , measured , and gently tedious in its comedy , secret ballot is a purposefully reductive movie -- which may be why it's so successful at lodging itself in the brain .

soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine depth that would make them redeemable .

noyce's film is contemplative and mournfully reflective .

sitting through the last reel ( spoiler alert ! ) is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .

the importance of being earnest , so thick with wit it plays like a reading from bartlett's familiar quotations

between them , de niro and murphy make showtime the most savory and hilarious guilty pleasure of many a recent movie season .

what's really sad is to see two academy award winning actresses ( and one academy award winning actor ) succumb to appearing in this junk that's tv sitcom material at best .

watching it is rather like an overlong visit from a large group of your relatives . as your relatives swap one mundane story after another , you begin to wonder if they are ever going to depart .

if you can read the subtitles ( the opera is sung in italian ) and you like 'masterpiece theatre' type costumes , you'll enjoy this movie .

. . . fifty minutes of tedious adolescent melodramatics followed by thirty-five minutes of inflated nonsense .

manages to transcend the sex , drugs and show-tunes plot into something far richer .

the director , mark pellington , does a terrific job conjuring up a sinister , menacing atmosphere though unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head .

ultimately . . . the movie is too heady for children , and too preachy for adults .

waydowntown may not be an important movie , or even a good one , but it provides a nice change of mindless pace in collision with the hot oscar season currently underway .

a fine documentary can be distinguished from a mediocre one by the better film's ability to make its subject interesting to those who aren't part of its supposed target audience . judging by those standards , 'scratch' is a pretty decent little documentary .

a muddy psychological thriller rife with miscalculations . it makes me say the obvious : abandon all hope of a good movie ye who enter here .

mr . deeds is sure to give you a lot of laughs in this simple , sweet and romantic comedy .

one hour photo may seem disappointing in its generalities , but it's the little nuances that perhaps had to escape from director mark romanek's self-conscious scrutiny to happen , that finally get under your skin .

all ms . jovovich , as the sanctified heroine , has to do is look radiant , grimly purposeful and mildly alarmed while forcing open doors , wielding wrenches and fleeing monsters .

despite the pyrotechnics , narc is strictly by the book .

if you saw it on tv , you'd probably turn it off , convinced that you had already seen that movie .

a cutesy romantic tale with a twist .

" simone " is a fun and funky look into an artificial creation in a world that thrives on artificiality .

bears about as much resemblance to the experiences of most battered women as spider-man does to the experiences of most teenagers .

fine acting but there is no sense of connecting the dots , just dots .

solaris " is a shapeless inconsequential move relying on the viewer to do most of the work .

the film's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence .

the history is fascinating ; the action is dazzling . they just don't work in concert .

a benign but forgettable sci-fi diversion .

samira makhmalbaf's new film blackboards is much like the ethos of a stream of consciousness , although , it's unfortunate for the viewer that the thoughts and reflections coming through are torpid and banal

if you're down for a silly hack-and-slash flick , you can do no wrong with jason x .

one of the most original american productions this year , you'll find yourself remembering this refreshing visit to a sunshine state .

a long slog for anyone but the most committed pokemon fan .

demeo is not without talent ; he just needs better material .

this is a poster movie , a mediocre tribute to films like them !

yeah , these flicks are just that damn good . isn't it great ?

even if the ride's a little bumpy , with a final lap that's all too suspiciously smooth , you gotta give director roger michell , best known for the superfluous notting hill , credit for trying .

it represents better-than-average movie-making that doesn't demand a dumb , distracted audience .

equal parts bodice-ripper and plodding costume drama .

the actors are so terrific at conveying their young angst , we do indeed feel for them .

the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .

does what should seem impossible : it makes serial killer jeffrey dahmer boring .

it's jagger's bone-dry , mournfully brittle delivery that gives the film its bittersweet bite .

the characters are based on stock clichs , and the attempt to complicate the story only defies credibility .

before long , the film starts playing like general hospital crossed with a saturday night live spoof of dog day afternoon .

desperately unfunny when it tries to makes us laugh and desperately unsuspenseful when it tries to make us jump out of our seats .

statham employs an accent that i think is supposed to be an attempt at hardass american but sometimes just lapses into unhidden british .

a respectable venture on its own terms , lacking the broader vision that has seen certain trek films . . . cross over to a more mainstream audience .

its appeal will probably limited to lds church members and undemanding armchair tourists .

the whole thing comes off like a particularly amateurish episode of bewitched that takes place during spring break .

watching queen of the damned is like reading a research paper , with special effects tossed in .

kinnear doesn't aim for our sympathy , but rather delivers a performance of striking skill and depth .